One Romantic Night (1930)

One Romantic Night (1930)

Director: Paul L. Stein Writers: Maxwell Anderson (adaptation) Melville Baker (adaptation) 3 May 1930 (USA) Lillian Gish ... Princess Alexandra Rod La Rocque ... Prince Albert Conrad Nagel ... Dr. Nicholas Haller Marie Dressler ... Princess Beatrice O.P. Heggie ... Father Benedict Albert Conti ... Count Lutzen Edgar Norton ... Colonel Wunderlich Billie Bennett ... Princess Symphorosa Philippe De Lacy ... Prince George Byron Sage ... Prince Arsene Barbara Leonard ... Mitzi This film is one of over 200 titles in the list of independent feature films made available for television presentation by Advance Television Pictures announced in Motion Picture Herald 4 April 1942. At this time, television broadcasting was in its infancy, almost totally curtailed by the advent of World War II, and would not continue to develop until 1945-1946. Because of poor documentation (feature films were often not identified by title in conventional sources) no record has yet been found of its initial television broadcast. It's earliest documented telecast was Wednesday 13 July 1949 on WJZ, New York City. "One Romantic Night" is a highly satisfactory entertainment, even though it has lost some of its literary value in the studio transcription. Also, the acting of Conrad Nagel as the Tutor and Rod La Rocque as the Prince does not measure up to that of Basil Rathbone and Philip Merivale, who were beheld in these respective rôles on the stage. A silent picture was produced of this play in 1925 and its chief claim to fame was the direction of Dimitri Buchowetzki and the excellent portrayal of the Prince of Adolphe Menjou. Besides the sensitive and gracious interpretation of Miss Gish, there is a splendid performance by Marie Dressler, who creates no end of fun in the part of Princess Alexandra's mother, Princess Beatrice. The venerable Father Hyacinth's name is changed in the film to Father Benedict, a part that is undertaken by O. P. Heggie. This screen diversion was directed by Paul Stein, who has succeeded in making the action considerably clearer than it was in the mute offspring. Most of the photography is beyond reproach, but in a few scenes it is somewhat flat, due to the background being of the same shade as gowns worn by Miss Gish and Miss Dressler." - NY Times -





























































Comments

Post a Comment

Popular posts from this blog

D.W. Griffith – An American Life (By Richard Schickel – 1984)

Image
D.W. Griffith – An American Life (By Richard Schickel – 1984) D.W. Griffith – An American Life By Richard Schickel – 1984 Griffith! Before him, the movies were a nickelodeon novelty, after him, they were an international art form and a powerful, glamorous American industry He was the first to codify the rules and techniques of screen storytelling, the first to establish the conventions by which the unique capacities of the movies for both sweeping spectacle and profound intimacy could be employed in long, complex narratives, the first to assert the director’s claim to primary authorship of a film Above all, it was Griffith who imagined the future of his medium, and with his driving energy, his taste for the grandiose and his flair for publicity, propelled that medium toward that future—only to be crushed by the very forces he had unleashed. D.w. Griffith (1875-1948) Painting; D.w. Griffith (1875-1948) Art Print for sale His story is, in huge measure, the story of how the ...
Read more

Lillian Gish and Jeanne Moreau – Vanity Fair 1983

Image
Lillian Gish and Jeanne Moreau – Vanity Fair 1983 Vanity Fair – October 1983 Lillian Gish Jeanne Moreau This is a summit meeting: a queen paying homage to an empress. Of course, Lillian Gish, far right, is no truer a blueblood than any other homespun midwesterner. But wherever she goes now, she is treated like a monarch, acknowledging standing ovations in allAmerican palaces like Radio City Music Hall. Her admirers aren’t really applauding her 101 films (she has just completed the 102nd, about a sweet old lady and her sweet old dog). They may never have seen her slim but supernally intense performances in the D. W. Griffith masterpieces or in the Victor Sjostrom classics she made in the late ’20s at MGM. Lillian-Gish-Jeanne-Moreau 60s But they sense in her the grace, the purity, the wealth of symbolism that royalty sustains. Gish’s companion here, Jeanne Moreau, radiates a similar authority; what Gish was to the cinema of the ’20s, Moreau was to the cinema of the ’60s. ...
Read more

LEADING LADIES – 1976 (Electa Clark) PDF Download

Image
  LEADING LADIES – 1976 (Electa Clark) PDF Download “Humanity marches on into the new and glorious 20th century!” exults a daily paper in its first issue of 1901. “Come, oh century, child of hope!” begins a long poem on page one. Another column trills, “We are 20th century women … with the dower of privilege and responsibility which enriches women in this wonderful era!” Lillian Gish had a similar effect on millions who saw her in the movies. She was not only talented, she had a unique quality: pure, ethereal, elusive. As if she acted in whispers. As if in her hands, the definite blurred into the indefinite. It was drama critic George Jean Nathan who described her as being “behind a veil of silver chiffon.” He courted Lillian for years, but she eluded marriage. Horse drawn float declares National American Woman Suffrage Association’s support for Bristow-Mondell amendment 1920s Lillian Gish Actress ‘La Boheme’ Oversized DBW Photo by Kenneth Alexander Leading ladies an affectionate l...
Read more